A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
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Online and offline

The terms "online" and "offline" have specific meanings in regard to computer technology and telecommunications in which "online" indicates a state of connectivity, while "offline" indicates a disconnected state. Common vernacular extended from their computing and telecommunication meanings and refers specifically to an Internet connection. Lastly, in the area of human interaction and conversation, discussions taking place during a business meeting are "online", while issues that do not concern all participants of the meeting should be "taken offline" — continued outside of the meeting.

Definitions

In computer technology and telecommunication, online and offline are defined by Federal Standard 1037C. They are states or conditions of a "device or equipment" or of a "functional unit". To be considered online, one of the following may apply to a system: it is under the direct control of another device; it is under the direct control of the system with which it is associated; or it is available for immediate use on demand by the system without human intervention.

Giuseppe Verdi

Verdi was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works significantly influenced him, becoming one of the pre-eminent opera composers in history.

In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi however did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).

Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.

Composition history

For Verdi, the years 1851 to 1853 were filled with operatic activity. First, he had agreed with the librettist Salvadore Cammarano on a subject for what would become Il trovatore, but work on this opera could not proceed while the composer was writing Rigoletto, which premiered in Venice in March 1851. In addition, personal affairs in his home town limited his activities that spring, but after Rigoletto's success in Venice, an additional commission was offered by Brenna, the secretary of La Fenice. After Verdi's return from Paris a contract was signed in May 1852, with performances scheduled for March 1853, although no subject was chosen at that time.

Red Square

Red Square (Russian:Кра́ная пло́щадь, tr.Krásnaya Plóshchaď;IPA:[ˈkrasnəjə ˈploɕːətʲ]) is a city square (plaza) in Moscow, Russia. It separates the Kremlin, the former royal citadel and currently the official residence of the President of Russia, from a historic merchant quarter known as Kitai-gorod. Red Square is often considered the central square of Moscow since Moscow's major streets, which connect to Russia's major highways, originate from the square.

Origin and name

The name Red Square does not originate from the pigment of the surrounding bricks (which, in fact, were whitewashed at certain periods) nor from the link between the color red and communism. Rather, the name came about because the Russian word красная (krasnaya), which means "red," was applied to a small area between St. Basil's Cathedral, the Spassky Tower of the Kremlin, and the Lobnoe Mesto (place of execution), and Tsar Alexei Mikhailovich officially extended the name to the entire square, which had previously been called Pozhar, or "burnt-out place", in reference to the fact that several buildings had to be burned down to make place for the square. Several ancient Russian towns, such as Suzdal, Yelets, and Pereslavl-Zalessky, have their main square named Krasnaya ploshchad.

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

LA TRAVIATA Verdi - Festival Verdi

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
SUBSCRIBE FOR MORE
WEBSITE
https://operavision.eu/
FACEBOOK
https://www.facebook.com/OperaVisionEU/
TWITTER
https://twitter.com/OperaVision_EU
INSTAGRAM
https://www.instagram.com/OperaVision.EU/

Giuseppe Verdi - Otello HQ

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on, and it wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

Giuseppe Verdi - Otello HQ

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libr...

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features mo...

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
SUBSCRIBE FOR MORE
WEBSITE
https://operavision.eu/
FACEBOOK
https://www.facebook.com/OperaVisionEU/
TWITTER
https://twitter.com/OperaVision_EU
INSTAGRAM
https://www.instagram.com/OperaVision.EU/

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
SUBSCRIBE FOR MORE
WEBSITE
https://operavision.eu/
FACEBOOK
https://www.facebook.com/OperaVisionEU/
TWITTER
https://twitter.com/OperaVision_EU
INSTAGRAM
https://www.instagram.com/OperaVision.EU/

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on, and it wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on, and it wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

Giuseppe Verdi - Otello HQ

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libr...

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features mo...

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
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La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
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https://twitter.com/OperaVision_EU
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Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on, and it wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Otello (Italian pronunciation: [oˈtɛllo]) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
With the composer's reluctance to write anything new after the success of Aida in 1871 and his retreat into retirement, it took his Milan publisher Giulio Ricordi the next ten years, first to persuade him to write anything, then to encourage the revision of Verdi's 1857Simon Boccanegra by introducing Boito as librettist, and finally to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for Otello in July/August 1881.[1] However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on, and it wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of Otello soon followed at leading theatres throughout Europe and America.

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

LA TRAVIATA Verdi - Festival Verdi

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
SUBSCRIBE FOR MORE
WEBSITE
https://operavision.eu/
FACEBOOK
https://www.facebook.com/OperaVisionEU/
TWITTER
https://twitter.com/OperaVision_EU
INSTAGRAM
https://www.instagram.com/OperaVision.EU/

Verdi: Aïda - San Francisco Opera (starring Luciano Pavarotti)

A magnificent spectacle of stars, scenery and choreography, this version of Verdi's Aïda is remastered from Sam Wanamaker's landmark production. It features monumental performances by Luciano Pavarotti as Radames and Margaret Price in the title role. The tensions which arise from Radames' love for Aida, a slave who is the daughter of the Ethiopian chieftain, Amonasro, and the jealousy this provokes in the daughter in Amneris, daughter of the Egyptian king, are portrayed in some of Verdi's most famous music.
Buy from Amazon:
http://smarturl.it/AidaAmazon
http://www.warnerclassics.com/

LA TRAVIATA Verdi - Festival Verdi

La Traviata was recorded during the FestivalVerdi in Parma (Italy), October 2017.
This production of La traviata has been imagined by AndreaBernard (stage director), AlbertoBeltrame (set designer) and ElenaBeccaro (costume designer), the winners of the EuropeanOpera Directing Prize 2016.
More information about the production: https://goo.gl/usoj3G
______
La Traviata is the chronicle of a tragedy foretold. It is also an account of a rise, a fall and a redemption. But more than all, it is the story of a love larger than prejudice, larger than society, larger than life.
Act 1 is a party at the courtesan Violetta Valery’s apartment in Paris. Guests are still arriving. Gastone tells Violetta that the young Alfredo Germont is devoted to her. Alfredo is persuaded to lead a drinking song (‘Libiamo, ne’ lieti calici’) instead of her disgruntled lover Baron Douphol. A band announces dancing, but Violetta remains behind. Alfredo, noticing her pallor, urges her to give up her reckless life and declares his love (‘Un dì felice’). She mocks him, but is inwardly touched by his attention. Some guests return, and Alfredo is dismissed with an invitation to come back when the camellia she gives him has faded. The party is over, and Violetta, left alone, muses on the effect of Alfredo’s love (‘Ah, fors’ è lui’). But she decides to live for the present, despite the echo of Alfredo’s testament of love (‘Sempre libera’).
Act 2 begins three months later at Violetta’s country house. She and Alfredo are now living together. His happiness (‘De’ miei bollenti spiriti’) is jolted by the maid Annina telling him she has arranged for the sale of her mistress’s carriage. He leaves for Paris at once, to raise money on his own account. Violetta comes in and refuses an invitation from her friend Flora Bervoix. A stranger is announced. It is Alfredo’s father, and his purpose is to persuade her to leave his errant son. She describes what she has given up for him. When Germont tells her the liaison threatens his daughter’s marriage, she protests that she has not long to live. But he is adamant, and she resigns herself to the sacrifice, begging only that that the daughter be told of it, and Alfredo likewise, after her death (‘Dite alla giovine’). Alone, she writes a letter telling Alfredo that she has decided to return to Douphol. Suddenly Alfredo is there. She begs him to go on loving her (‘Amami, Alfredo’) and leaves. The servant tells him she has gone to Paris, and then he receives the letter. His father returns to console him (‘Di Provenza’), but he determines to follow her.
Later that evening, at Flora’s town house, the guests hear of the separation of Violetta and Alfredo. Gastone provides entertainment. Alfredo arrives and begins gambling, then a distraught Violetta with Douphol. A quarrel between the two men is prevented by the announcement of supper. Violetta has asked for a private word with Alfredo. She lies that she loves Douphol, and he insults her publicly by throwing his winnings at her feet. His father arrives and upbraids him for his cruelty.
Act 3 takes place six months later at Violetta’s Paris apartment. Violetta is dying of tuberculosis. The doctor offers her hope, but tells Annina that the end is near. Violetta re-reads a letter from Germont promising Alfredo’s return. It is too late, and she despairs of her dreams (‘Addio del passato’). Outside there is a carnival, and it heralds Alfredo’s surprise arrival. For a short while they are reunited (‘Parigi, o cara’). Violetta now desperately wants to live, but her strength is failing. In the presence of a repentant Germont, she gives Alfredo a miniature of herself, and dies.
SUBSCRIBE FOR MORE
WEBSITE
https://operavision.eu/
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https://www.facebook.com/OperaVisionEU/
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https://twitter.com/OperaVision_EU
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https://www.instagram.com/OperaVision.EU/

Giuseppe Verdi - Otello HQ...

RIGOLETTO - GIUSEPPE VERDI - 1994 ( MILAN )...

Full length - Verdi: Messa da Requiem...

In August 2016, a research plane was able to observe something strange in the atmosphere above Alaska's Aleutian Islands, lingering aerosol particle that was enriched with the same kind of uranium used in nuclear fuel and bombs, according to Gizmodo. The observation was the first time that scientists detected a particle free-floating in the atmosphere in over 20 years of plane-based observations ... ... -WN.com, Maureen Foody....

ADDIS ABABA, Ethiopia (AP) -- Ethiopia's defense minister on Saturday ruled out a military takeover a day after the East African nation declared a new state of emergency amid the worst anti-government protests in a quarter-century ... He also ruled out a transitional government ... A stampede at a religious event southeast of the capital, Addis Ababa, that month claimed the lives of several dozen people ... Learn more about our and . ....

One day in August 1995 a man called Foutanga Babani Sissoko walked into the head office of the Dubai Islamic Bank and asked for a loan to buy a car ... Then there was silence ... In 1998 I was living in Dubai, and I heard rumours that the bank was in trouble ... I also heard that he could be found living near his native village, Dabia, which had given its name to Sissoko's short-lived airline, near Mali's border with Guinea and Senegal ... ....

MEXICOCITY. A strong earthquake shook southern and central Mexico Friday, causing panic less than six months after two devastating quakes that killed hundreds of people. No buildings collapsed, according to early reports. But two towns near the epicenter, in the southern state of Oaxaca, reported damage and state authorities said they had opened emergency shelters ... It was also felt in the states of Guerrero, Puebla and Michoacan ... AFP ... ....

Mexico City – A military helicopter carrying officials assessing damage from a powerful earthquake crashed Friday in southern Mexico, killing 13 people and injuring 15, all of them on the ground. The Oaxaca state prosecutor’s office said in a statement that five women, four men and three children were killed at the crash site and another person died later at the hospital ...Alejandro Murat, neither of whom had serious injuries ... The U.S ... ....

Nikolas Cruz was immature, quirky and depressed when James and Kimberly Snead took him into their Parkland home. But he was pleasant and seemed to be growing happier, they said. How the 19-year-old turned into a killer still baffles them. “We had this monster living under our roof and we didn’t ... ....